DOCSLIB.ORG

EDUCATING GORDON Recollections Accompanying an Exhibition of Professor Gordon Holden’S Student Drawings from 1964 to 1969

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
EDUCATING GORDON Recollections Accompanying an Exhibition of Professor Gordon Holden’S Student Drawings from 1964 to 1969 EDUCATING GORDON Recollections Accompanying an Exhibition of Professor Gordon Holden’s Student Drawings from 1964 to 1969 Gordon Holden 1967 INTRODUCTION This document is a brief account of recollections that accompanied an Exhibition launched at Griffith University – Gold Coast on 20 May 2016. The exhibition consisted of original design and technical drawings that I made over the duration of my studies – I re-discovered these documents when moving house in 2015. In 1964 the Diploma in Architecture program at the Brisbane Central Technical College (later Queensland Institute of Technology [1965] and Queensland University of Technology [1989]) was recognised as satisfying the educational requirements for graduates after practice experience and further examination to become registered architects and members of the Institute of Architects. Predecessor Diploma in Architecture programs at the Central Technical College on the Gardens Point Campus dated from 1918. The Architecture program was led by prominent architect, Mr Charles Fulton. All subjects were taught by practicing architects, engineers, builders and quantity surveyors, many of whom were distinguished in their respective profession. Classes were held week nights from 6 to 9pm. In 1964 first year classes were accommodated in what is building “U” in the space that is now the QUT’s Vice Chancellor’s offices. In 1967 Architecture moved to a new building designed by Steve Trotter adjacent to older buildings that dated from about 1915, alongside the House of Parliament boundary. In 1964 entry level education to the Dip Arch was a Senior High School qualification. Subjects required for entry were English, two Mathematics, Physics and Geometrical Drawing and Perspective or Art (plus Chemistry at least at Junior High School level). Enrolment in the Diploma also required concurrent practice experience under the supervision of a registered architect over the 6-years of the program. 1964 - 1st YEAR I commenced work at Peter Heathwood’s architectural office on the river-front at Hawthorne in late February. First year of study was structured to provide mainly technical skills in freehand drawing, perspective, geometry and rendering but also provided introductions to basic building construction and architectural history. A memorable event during the year occurred when Athol Bretnall, the history lecturer was unable to attend one evening. One of the students gave the lecture – apparently he had failed the subject about six times – it was rumoured that his grandfather had left him a handsome sum to support his studies for as long as it took, so the student had no incentive to pass, but he knew his stuff. The lecture was both informative and entertaining as he parodied Mr Bretnall. For this exhibition unfortunately I could only recover drawings of trees, an assignment for the subject “Architectural Free Drawing” in first year. In the Rendering course we completed large drawing sheets in hand lettering of the alphabet at different sizes as well as constructing large capital letters in Roman style, according to prescribed line width, angles and curves. We also made a water colour rendering complete with graded wash shadows of a Greek Ionic Composition on water-stretched artist paper. Freehand nature Drawings 1965 - 2nd YEAR Design studio started in 2nd year, the subject most looked forward to by students. Not much of my design work was found for this exhibition but the six plates for “Architectural Construction 1” completed over the year were all intact. This course was assessed half by the six plates and half by a final examination. Design had a number of projects of around three to five weeks duration, about six in all over the year, as well as several 3hr sketch designs in the night-time studio. Except for final year, each year the design subject had a one-day design exam in November, on a Saturday. The final year design exam was a three-day event on Friday, Saturday and Sunday. Most subjects, excluding design, were assessed in a single exam at the end of the year. Students who didn’t pass thereby added another year to their studies. The late September early October blooming of Jacaranda trees in the city gardens adjacent to the campus, signalled the time to seriously study hand notes for all courses. There were very few handouts over the full six years of the program. A number of students created a sort of ‘club’ that produced a magazine called “Scarab” available through an annual subscription. There was also a scarab beetle pin badge that was available. The scarab was inspired by ancient Egyptian culture that revered its creative symbolism. The quality of practice experience varied considerably across the student cohort. Some students were lucky to be in offices known for high standard architecture and good mentoring. Others were receiving little mentoring while drafting mediocre work. I was one of the lucky ones in working for Peter Heathwood, a multi award winning architect and a great mentor. Peter gave architecture books for Christmas – but with a catch – he would require me to discuss the books during our Friday afternoon meetings, together with what I had learned at college and in the office that week. Construction Plates Youth Mountain Hostel 1966 - 3rd YEAR By third year some students were reaching age 21 – the voting age and the age when they started receiving a reasonable salary. However no one could yet afford a car. In third year there was a high emphasis on technology, including sun penetration analysis, a project within the design studio. The structures course was taught by John Day, a good teacher and a top Engineer in town. Many students struggled with the calculations and had to repeat. The night-time three hour design sketch projects were now quite regular. After the project was handed-out, some students went to the Bellevue Hotel for a few drinks, generally to return with less than an hour to go. I recall one 3hr sketch topic was ‘Steptoe’s Living Room’ (Steptoe and Son was a TV program about UK junk dealers). One of the students, I think it was Haig Beck, arrived back with about 15 minutes spare and quickly poured a bottle of Indian ink on the sheet and spread it all over with a paint brush, except for a white bubble shaped patch within which he wrote “turn the lights on Dad”. I think he received top marks. A design class assignment of significance for me this year was researching and writing on a chosen architectural topic. I selected “The Brisbane House” and thoroughly enjoyed the investigation, writing, photography and drawing challenges. Together with a fellow student I attend environmental psychology classes at the University of Queensland as I felt that architects should know more about this topic. I received the Clay-Brick Manufacturers annual prize for a design class project for a block of apartments using bricks Scarab faded away and was replaced by ASM (Architecture Student Magazine) which also only lasted a year or so. My design sensibilities were highly derived from Peter Heathwood’s architecture but also influenced by work of other top local practitioners including John Dalton, Robin Gibson, Graham Bligh, Neville Lund and Maurice Hurst. The works of these and others were closely studied especially for rational planning and structural expression clues. Sun Shade Study Kindergarten Animal Park Entrance (3hr Sketch) 1967 - 4th YEAR In 4th year, the second-level structures subject loomed large again, with this being the major stumbling block for many student. Of great interest for me was the Town Planning subject. It opened wider my developing interests beyond the single building, sparked by reading Gordon Cullen’s “Townscape” book during the year. Following on from the previous year, another research-based project was set within the design studio. This time I undertook an annotated ‘serial-vision’ photographic study journey through parts of Brisbane. I still have the original material and plan to repeat the study, to reveal 50 years of change. As in previous years, I regularly walked older suburbs at weekends, camera in hand looking for interesting buildings. My design work and its presentation now exhibit signs of controlled restraint within the modernist tradition. This is expressed in rational space planning, simple forms, revealed structure, use of a limited materials palate and the selective use of mainly primary colours. My search was beyond local and national contemporary examples to Europe and the USA. Influences included Mies Van Der Rohe, Alvar Aalto, Le Corbusier and Walter Gropius from Europe and Frank Lloyd Wright and Richard Neutra from the USA. The National Architecture Student Conference is held in Brisbane this year over several days and is a significant event for me, being my first architectural ‘love-in’. Geo Ponti and Harry Seidler were impressive, local architects including John Dalton were memorable while Tony Gwilliam from the UK was a stand-out – perhaps because he thought outside of the box, communicated animatedly, was closer to us in age, taught at the AA and represented the ‘rebellious spirit of the age’. Together with a couple of other students I go to art history classes by Gertrude Langer to fill another perceived gap in my education. My library now stands at about 40 books, acquired at the rate of about one each month. Topics expand to encompass Australian architectural history, contemporary Japanese architecture and urban design, none of which were taught in the program. I win a design award for a sculpture garden designed in studio this year. Monastery on a Forested Hill Top 1968 - 5th YEAR Other than design and interior decoration, the other subjects this year focused on aspects of architectural practice including specifying, estimating and running projects. I found these somewhat dry topics quite engaging, probably because I like most students, was now in more responsible positions in offices and were actually undertaking some of the work of a practicing architect – so what was being taught had immediate relevance.
Load more

Recommended publications
  • Katsura Imperial Villa: the Photographs of Ishimoto Yasuhiro
    Art in the Garden Katsura Imperial Villa: The Photographs of Ishimoto Yasuhiro Winter 2011 Katsura Imperial Villa: The Photographs of Ishimoto Yasuhiro This exhibition celebrates one of the most exquisite Harry Callahan and Aaron Siskind. He received the magnum opus 1955 exhibition titled The Family of THE MA OF MODERNISM: THE BOX architectural and garden treasures of Japan— Moholy-Nagy Prize awarded to top students of the Man at the Museum of Modern Art, New York. CONSTRUCTIONS OF DANIEL FAGERENG Katsura Imperial Villa in Kyoto—and one of its finest Institute for two consecutive years in 1951 and 1952. The box constructions of Daniel Fagereng were on living photographers, Ishimoto Yasuhiro, whose In 1966, Ishimoto returned again to Japan, where he view in conjunction with the Katsura photography 1953 images of Katsura introduced this unrivalled In 1953, Ishimoto returned to Japan to photograph became a professor at the Tokyo University of Art exhibition. The artist reinterprets the elements and masterpiece to the world. Katsura Detached Palace, and published the and Design. In 1969, he became a Japanese citizen. book, Katsura: Tradition and Creation in Japanese He visited Kyoto again in 1982, re-photographing components of traditional Japanese architecture in Born in San Francisco in 1921, and raised in Japan, Architecture, in 1960 with text by Walter Gropius Katsura in color to capture his own personal these mixed media constructions using light, line, Ishimoto returned to the U.S. at the age of 17 to and Tange Kenzo, two of the greatest architects of the vision of the richer, more complex character of and shadow as compositional elements.
    [Show full text]
  • Composition of Threshold in Japanese Contemporary Architecture Located
    計画系 696 号 【カテゴリーⅠ】 日本建築学会計画系論文集 第79巻 第696号，365-372，2014年 ₂ 月 J. Archit. Plann., AIJ, Vol. 79 No. 696, 365-372, Feb., 2014 COMPOSITION OF THRESHOLD IN JAPANESE CONTEMPORARY ARCHITECTURE LOCATED IN URBAN PARKS COMPOSITION都市公園に建つ現代日本の建築作品における閾の構成 OF THRESHOLD IN JAPANESE CONTEMPORARY ARCHITECTURE LOCATED IN URBAN PARKS Guillaume FAAS＊ and Yoshiharu TSUKAMOTO＊＊ 都市公園に建つ現代日本の建築作品における閾の構成 ファース ギョーム，塚 本 由 晴 Guillaume FAAS*, Yoshiharu TSUKAMOTO** ファース・ ギョーム， 塚本由晴 The aim of this study is to clarify the composition of threshold in Japanese contemporary architecture located in urban parks. “Threshold” is seen as a space which possesses the potential to provide people with a place to congregate, rest, and views to the vicinity. The principle of threshold is seen as the transitional space from the exterior to the interior in public architecture that can have different character by various arrangement of elements and open space according to the access circulation. First, the elements that compose the threshold are defined. Second, the arrangement of the threshold is examined. Third, the compositional diagrams of the threshold with the Volume are examined, and typologies of the threshold are established. From the comparison of these typologies four characteristics with tendencies are clarified: Isolating (the interior), Concentrating (the exterior, the interior, the exterior with depth), Dispersing (the interior, the interior with depth, the interior and of the exterior, the interior and the exterior with depth), Blurring (the interior and the exterior) Keywords: Japanese Contemporary architecture, Urban Park, Threshold, Composition, Arrangement, Typology. 現代日本建築作品， 都市公園， 閾，構成，配列，類型 1 Introduction of a door. The sill defines the limit between two distinct spaces, 1.1 Background and purpose which can be between an exterior and an interior, between two Public facilities do not only serve activities for people, but also exteriors or between two interiors.
    [Show full text]
  • Japanese Gardens at American World’S Fairs, 1876–1940 Anthony Alofsin: Frank Lloyd Wright and the Aesthetics of Japan
    A Publication of the Foundation for Landscape Studies A Journal of Place Volume ıv | Number ı | Fall 2008 Essays: The Long Life of the Japanese Garden 2 Paula Deitz: Plum Blossoms: The Third Friend of Winter Natsumi Nonaka: The Japanese Garden: The Art of Setting Stones Marc Peter Keane: Listening to Stones Elizabeth Barlow Rogers: Tea and Sympathy: A Zen Approach to Landscape Gardening Kendall H. Brown: Fair Japan: Japanese Gardens at American World’s Fairs, 1876–1940 Anthony Alofsin: Frank Lloyd Wright and the Aesthetics of Japan Book Reviews 18 Joseph Disponzio: The Sun King’s Garden: Louis XIV, André Le Nôtre and the Creation of the Garden of Versailles By Ian Thompson Elizabeth Barlow Rogers: Gardens: An Essay on the Human Condition By Robert Pogue Harrison Calendar 22 Tour 23 Contributors 23 Letter from the Editor times. Still observed is a Marc Peter Keane explains Japanese garden also became of interior and exterior. The deep-seated cultural tradi- how the Sakuteiki’s prescrip- an instrument of propagan- preeminent Wright scholar tion of plum-blossom view- tions regarding the setting of da in the hands of the coun- Anthony Alofsin maintains ing, which takes place at stones, together with the try’s imperial rulers at a in his essay that Wright was his issue of During the Heian period winter’s end. Paula Deitz Zen approach to garden succession of nineteenth- inspired as much by gardens Site/Lines focuses (794–1185), still inspired by writes about this third friend design absorbed during his and twentieth-century as by architecture during his on the aesthetics Chinese models, gardens of winter in her narrative of long residency in Japan, world’s fairs.
    [Show full text]
  • Watanabe, Tokyo, E
    Edition Axel Menges GmbH Esslinger Straße 24 D-70736 Stuttgart-Fellbach tel. +49-711-574759 fax +49-711-574784 Hiroshi Watanabe The Architecture of Tokyo 348 pp. with 330 ill., 161,5 x 222 mm, soft-cover, English ISBN 3-930698-93-5 Euro 36.00, sfr 62.00, £ 24.00, US $ 42.00, $A 68.00 The Tokyo region is the most populous metropolitan area in the world and a place of extraordinary vitality. The political, economic and cultural centre of Japan, Tokyo also exerts an enormous inter- national influence. In fact the region has been pivotal to the nation’s affairs for centuries. Its sheer size, its concentration of resources and institutions and its long history have produced buildings of many different types from many different eras. Distributors This is the first guide to introduce in one volume the architec- ture of the Tokyo region, encompassing Tokyo proper and adja- Brockhaus Commission cent prefectures, in all its remarkable variety. The buildings are pre- Kreidlerstraße 9 sented chronologically and grouped into six periods: the medieval D-70806 Kornwestheim period (1185–1600), the Edo period (1600–1868), the Meiji period Germany (1868–1912), the Taisho and early Showa period (1912–1945), the tel. +49-7154-1327-33 postwar reconstruction period (1945–1970) and the contemporary fax +49-7154-1327-13 period (1970 until today). This comprehensive coverage permits [email protected] those interested in Japanese architecture or culture to focus on a particular era or to examine buildings within a larger temporal Buchzentrum AG framework. A concise discussion of the history of the region and Industriestraße Ost 10 the architecture of Japan develops a context within which the indi- CH-4614 Hägendorf vidual works may be viewed.
    [Show full text]
  • Faith and Power in Japanese Buddhist Art, 1600-2005
    japanese art | religions graham FAITH AND POWER IN JAPANESE BUDDHIST ART, 1600–2005 Faith and Power in Japanese Buddhist Art explores the transformation of Buddhism from the premodern to the contemporary era in Japan and the central role its visual culture has played in this transformation. The chapters elucidate the thread of change over time in the practice of Bud- dhism as revealed in sites of devotion and in imagery representing the FAITH AND POWER religion’s most popular deities and religious practices. It also introduces the work of modern and contemporary artists who are not generally as- sociated with institutional Buddhism but whose faith inspires their art. IN JAPANESE BUDDHIST ART The author makes a persuasive argument that the neglect of these ma- terials by scholars results from erroneous presumptions about the aes- thetic superiority of early Japanese Buddhist artifacts and an asserted 160 0 – 20 05 decline in the institutional power of the religion after the sixteenth century. She demonstrates that recent works constitute a significant contribution to the history of Japanese art and architecture, providing evidence of Buddhism’s persistent and compelling presence at all levels of Japanese society. The book is divided into two chronological sections. The first explores Buddhism in an earlier period of Japanese art (1600–1868), emphasiz- ing the production of Buddhist temples and imagery within the larger political, social, and economic concerns of the time. The second section addresses Buddhism’s visual culture in modern Japan (1868–2005), specifically the relationship between Buddhist institutions prior to World War II and the increasingly militaristic national government that had initially persecuted them.
    [Show full text]
  • Japanese Spatial Culture, Nature and Architecture
    PATTERNS and LAYERING Japanese Spatial Culture, Nature and Architecture Foreword by Kengo KUMA Edited by Salvator-John A. LIOTTA and Matteo BELFIORE PATTERNS and LAYERING Japanese Spatial Culture, Nature and Architecture Foreword: Kengo KUMA Editors: Salvator-John A. LIOTTA Matteo BELFIORE Graphic edition by: Ilze PakloNE Rafael A. Balboa Foreword 4 Kengo Kuma Background 6 Salvator-John A. Liotta and Matteo Belfiore Patterns, Japanese Spatial Culture, Nature, and Generative Design 8 Salvator-John A. Liotta Spatial Layering in Japan 52 Matteo Belfiore Thinking Japanese Pattern Eccentricities 98 Rafael Balboa and Ilze Paklone Evolution of Geometrical Pattern 106 Ling Zhang Development of Japanese Traditional Pattern Under the Influence of Chinese Culture 112 Yao Chen Patterns in Japanese Vernacular Architecture: Envelope Layers and Ecosystem Integration 118 Catarina Vitorino Distant Distances 126 Bojan Milan Končarević European and Japanese Space: A Different Perception Through Artists’ Eyes 134 Federico Scaroni Pervious and Phenomenal Opacity: Boundary Techniques and Intermediating Patterns as Design Strategies 140 Robert Baum Integrated Interspaces: An Urban Interpretation of the Concept of Oku 146 Cristiano Lippa Craft Mediated Designs: Explorations in Modernity and Bamboo 152 Kaon Ko Doing Patterns as Initiators of Design, Layering as Codifier of Space 160 Ko Nakamura and Mikako Koike On Pattern and Digital Fabrication 168 Yusuke Obuchi Foreword Kengo Kuma When I learned that Salvator-John A. Liotta and Matteo Belfiore in my laboratory had launched a study on patterns and layering, I had a premonition of something new and unseen in preexisting research on Japan. Conventional research on Japan has been initiated out of deep affection for Japanese architecture and thus prone to wetness and sentimentality, distanced from the universal and lacking in potential breadth of architectural theories.
    [Show full text]
  • Downloads/2003 Essay.Pdf, Accessed November 2012
    UCLA UCLA Electronic Theses and Dissertations Title Nation Building in Kuwait 1961–1991 Permalink https://escholarship.org/uc/item/91b0909n Author Alomaim, Anas Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Nation Building in Kuwait 1961–1991 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Architecture by Anas Alomaim 2016 © Copyright by Anas Alomaim 2016 ABSTRACT OF THE DISSERTATION Nation Building in Kuwait 1961–1991 by Anas Alomaim Doctor of Philosophy in Architecture University of California, Los Angeles, 2016 Professor Sylvia Lavin, Chair Kuwait started the process of its nation building just few years prior to signing the independence agreement from the British mandate in 1961. Establishing Kuwait’s as modern, democratic, and independent nation, paradoxically, depended on a network of international organizations, foreign consultants, and world-renowned architects to build a series of architectural projects with a hybrid of local and foreign forms and functions to produce a convincing image of Kuwait national autonomy. Kuwait nationalism relied on architecture’s ability, as an art medium, to produce a seamless image of Kuwait as a modern country and led to citing it as one of the most democratic states in the Middle East. The construction of all major projects of Kuwait’s nation building followed a similar path; for example, all mashare’e kubra [major projects] of the state that started early 1960s included particular geometries, monumental forms, and symbolic elements inspired by the vernacular life of Kuwait to establish its legitimacy.
    [Show full text]
  • Long-Overdue Book Highlights Historic and Unpublished Collection of Japanese Art
    Long-overdue book highlights historic and unpublished collection of Japanese art “What it is about Japanese art that transcends time and place to remain so visually stimulating and spiritually rewarding—as true today as it has been for centuries?” Linda C. Harrison, Preface Beyond Zen is a unique and fascinating visual history of Japanese Buddhist art largely dating from the Edo period (1600–1868) to the present day, through one of the finest collections in the USA. The richly-illustrated text offers a concise introduction to diverse Japanese Buddhist practices and the central role art plays in them. It showcases magnificent and rare works of Japanese art—ornate and gold leafed paintings, textiles, ceramics, and sculptures—from The Newark Museum of Art’s collection that reflect Mahayana and Mantrayana Buddhist practices. The volume is organized in seven sections that emphasize the functionality of the art through windows of practice embraced throughout all periods of Japanese Buddhist history. The “Buddha, Buddhas, and Bodhisattvas” chapter introduces central divine figures prominent in Mahayana Buddhist art. The “Life and Death” section illustrates Japanese Buddhist promises of paradises and punishments of hells. The “Health and Wealth” portion features both peaceful and wrathful Buddhist deities that promote physical and mental health, as well as spiritual and material wealth, while fending off negativities that bring disaster. ”Extending Enlightenment” considers the evolution of art in Buddhism while the “Teachers and Students” chapter addresses the vital, venerated role of teachers and transmission of knowledge. “From Ascetic to Saint” explores the narrative origins of a four-part illustrated hagiography depicting the ascetic life of the Buddhist monk Tokuhon.
    [Show full text]
  • Issues of Authority in Japanese Architecture
    Issues of Authority in Japanese Architecture Karen M. Gerhart Japanese architecture has often been discussed in terms of its decorative appeal, inspired by its beauty of form, its technically proficient construction, and its agreeable materials. While the focus on the aesthetic qualities of buildings reflects our own contemporary enthusiasms, it unfortunately obscures some of the very different original purposes of Japanese architecture. In pre-modern Japan, architecture was the privilege of the elite and power-seekers and was generally undertaken for reasons other than aesthetics; building signified power and authority. As in Europe and elsewhere, the building of grand structures signaled control over architects and craftsmen, sufficient wealth, and the ability to command others to provide material and labor. Building was also about establishing control and legitimacy. Indeed, the first act new rulers generally undertook was to construct buildings to represent the ideals of their rule. For example, regional leaders founded important shrines like Ise and Izumo as visual symbols of the efficacy of their clan deities, the Japanese emperor sponsored monumental temples, exemplified by Tōdaiji, to show the vigorous support of continental Buddhas for the royal family and the nation, and the warrior elite constructed immense castles, such as Azuchi Castle, in support of its own quest for legitimacy. These varied purposes were expressed in many ways—through elevation, sheer size, by limiting access, through innovative technology, and through beauty in the form of fine materials and intricate decorations. I will discuss here a number of buildings in pre-modern Japan that were designed to exemplify the power and authority of their makers.
    [Show full text]
  • THEMES, SCENES, and TASTE in the HISTORY of JAPANESE GARDEN ART Promotoren: Ir.M .J
    THEMES, SCENES, AND TASTE IN THE HISTORY OF JAPANESE GARDEN ART Promotoren: Ir.M .J . Vroom Hoogleraar in de Landschapsarchitektuur Dr.W.R.vanGulik Bijzonder Hoogleraar in de Materiële Cultuurkunde en Kunstgeschiedenis van Japan en Korea (Rijks­ universiteit Leiden) Dr.M .Nakamur a Hoogleraar in de Landschapsarchitektuur (Kyoto University) VïJÖ2lO\y\Z0$ STELLINGEN 1. De situering van tuin en gebouwen van de paleizen uit de Japanse Heian tijd was het resultaat van bescheiden aanpassingen van de bestaande topografie. (Dit proefschrift) 2. Planten werden in de Heian paleistuin geplant om een stemming weer te geven, niet omwille van een estetisch beeld. Deze stemming berustte op het oproepen en herkennen van welbekende poëtische thema's, onlosmakelijk verbonden met bepaalde plantensoorten. (Dit proefschrift) 3. Vroeg veertiende eeuwse tuinen in Japan, die vormgegeven zijn met gebruikmaking van Chinese kompositietheoriën uit de Song landschapsschilderkunst, zijn ontworpen door Chinezen. (Dit proefschrift) k. De opkomst van een groep van professionele, maar ongeletterde tuinenmakers in de tweede helft van de middeleeuwen in Japan, droeg bij aan het totstandkomen van een vormgeving die het scheppen van taferelen ten doel had, welke gewaardeerd werden op uiterlijke schoonheid. (Dit proefschrift) 5. De Japanse 'droge landschapsstijl' (karesansui) is als zodanig in de twintigste eeuw gedefinieerd. (Dit proefschrift) 6. Het valt op zijn minst te betwijfelen dat middeleeuwse tuinenmakers in Japan de bedoeling hadden de Zen filosofie tot uitdrukking te brengen. De gedachte dat de Zen filosofie met materiële vormen in een tuin tot uitdrukking gebracht wordt dateert uit de dertiger jaren van deze eeuw. (Dit proefschrift) 7. De inrichting van de Japanse zestiende eeuwse theetuin was in de grond van de zaak funktioneel.
    [Show full text]
  • Draft Landmark Designation Report
    DRAFT LANDMARK DESIGNATION REPORT Peace Pagoda & Peace Plaza Peace Plaza, Japantown Draft Article 10 Landmark Designation Report submitted to the Historic Preservation Commission, XXXXXXXX City and County of San Francisco Planning Department Landmark No. Edwin M. Lee, Mayor John Rahaim, Director XXX Cover: Peace Pagoda, 2013. The Historic Preservation Commission (HPC) is a seven-member body that makes recommendations to the Board of Supervisors regarding the designation of landmark buildings and districts. The regulations governing landmarks and landmark districts are found in Article 10 of the Planning Code. The HPC is staffed by the San Francisco Planning Department. This Draft Landmark Designation Report is subject to possible revision and amendment during the initiation and designation process. Only language contained within the Article 10 designation ordinance, adopted by the San Francisco Board of Supervisors, should be regarded as final. CONTENTS OVERVIEW ................................................................................................................................................................. 3 BUILDING DESCRIPTION ....................................................................................................................................... 4 Peace Pagoda ........................................................................................................................................................... 4 Peace Plaza ..............................................................................................................................................................
    [Show full text]
  • Building Warrior Legitimacy in Medieval Kyoto Matthew Stavros
    East Asian History NUMBER 31 . J UNE 2006 Institute of Advanced Studies The Australian National University Editor Geremie R. Barme Associate Editors Benjamin Penny Lindy Shultz Business Manager Marion Weeks Editorial Board B0rge Bakken John Clark Helen Dunstan Louise Edwards Mark Elvin John Fitzgerald Colin Jeffcott Li Tana Kam Louie Lewis Mayo Gavan McCormack David Marr Tessa Morris-Suzuki Kenneth Wells Design and Production Oanh Collins, Marion Weeks, Maxine McArthur Printed by Goanna Print, Fyshwick, ACT This is the thirty-first issue of East Asian History, printed in October 2007, in the series previously entitled Papers on Far Eastern History. This externally refereed journal is published twice a year Contributions to The Editor, East Asian History Division of Pacific and Asian History Research School of Pacific and Asian Studies The Australian National University Canberra ACT 0200, Australia Phone +61 26125 3140 Fax +61 2 6125 5525 Email [email protected] Subscription Enquiries to Subscriptions, East Asian History, at the above address, or to marion. [email protected] Annual Subscription Australia A$50 (including GST) Overseas US$45 (GST free) (for two issues) ISSN 1036-6008 iii .4!. CONTENTS 1 Building Warrior Legitimacy in Medieval Kyoto Matthew Stavros 29 Building a Dharma Transmission Monastery in Seventeenth-Century China: The Case of Mount Huangbo Jiang Wu 53 The Genesis of the Name "Yeke Mongyol Ulus"• . Igor de Rachewiltz 57 Confucius in Mongolian: Some Remarks on the Mongol Exegesis of the Analects Igor de Rachewiltz 65 A Note on YeW Zhu I[[H~ S and His Family Igor de Rachewiltz 75 Exhibiting Meiji Modernity: Japanese Art at the Columbian Exposition Judith Snodgrass 101 Turning Historians into Party Scholar-Bureaucrats: North Korean Historiography, 1955-58 Leonid Petrov iv Cover calligraphy Yan Zhenqing ~~ o~n, Tang calligrapher and statesman Cover illustration Higuchi Haruzane, Tea and Coffee set - "Exhibiting Meiji Modernity: Japanese Art at Columbina Exposition" by Judith Snodgrass, see p.90.
    [Show full text]